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| 1. | It's a Wonderful World
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| 2. | 720 in the Books
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| 3. | Busy As a Bee
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| 4. | So Far, So Good
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| 5. | Ev'ry Sunday Afternoon
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| 6. | From Another World
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| 7. | You've Got Me Out on a Limb
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| 8. | Castle of Dreams
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| 9. | A Lover's Lullaby
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| 10. | Where Was I?
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| 11. | 'Deed I Do
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| 12. | You've Got Me Voodoo'd
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| 13. | Wanderin' Blues
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| 14. | Leapin' at the Lincoln
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| 15. | You're Lonely and I'm Lonely
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| 16. | Fools Fall in Love
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| 17. | Dark Avenue
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| 18. | The Breeze and I
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| 19. | Shake, Rattle and Roll (Afternoon of a Moax)
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| 20. | The Fable of the Rose
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| 21. | When the Spirit Moves Me
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| 22. | Reminiscing
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| 23. | You and Who Else?
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| 24. | Flying Home
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Jazz / Big Band, Dance Bands, Swing, Vocal Pop, American Popular Song, Tin Pan Alley Pop, Vocal Jazz
Anatol Schenker Liner Notes
Bill Miller Piano
Bill Robertson Trombone
Billy May Trumpet
Bob Burnet Trumpet
Bus Etri Guitar
Charlie Barnet Director, Sax (Soprano), Sax (Alto), Sax (Tenor)
Claude "Spud" Murphy Trombone
Cliff Leeman Drums
Don Ruppersberg Trombone
Duncan P. Schiedt Photography
Gene Kinsey Sax (Alto)
James Lamare Sax (Alto)
John Owens Trumpet
Kurt Bloom Sax (Tenor)
Lyman Vunk Trumpet
Mary Ann McCall Vocals
Phil Stevens Bass
Skip Martin Sax (Alto)
In what appears to be a premonition of the recording industry's postwar fascination with star vocalists, this volume in the Charlie Barnet chronology seems almost like part of the Mary Ann McCall chronology instead. After making a handful of tentative-sounding sides with the band in December of 1939, McCall quickly developed into a stronger and more self-assured vocalist. While sugary sweet at times, her usual mode is snappy, fresh, and cheeky. Barnet's orchestra invariably dishes out excellent backing, and the leader plays fine and sensuous saxophone throughout, but McCall is featured on a whopping 18 of the 24 tracks. Furthermore, Larry Taylor's groaning on "You and Who Else?" knocks the tally of instrumentals down to a paltry five, which feels like a reversion to the vocal pop epidemic of 1936. Anyone hungry for wordless jazz will naturally fasten onto each instrumental track with passionate persistence. Barnet blows tenor sax in proud and skillful emulation of Coleman Hawkins on "A Lover's Lullaby," and "Leapin' at the Lincoln" is a really fine big-band bounce brimming with hot solos. "Shake, Rattle and Roll" features Bus Etri's electrified guitar during the intro -- he also executes a passage of authentic electric blues guitar before McCall's vocal on "Wanderin' Blues," introducing an element quite unusual for a 1940 white big band. "Reminiscing" is a pensive dirge-like apparition and "Flying Home" nearly cuts the Hampton/Goodman original for sheer force and caloric intensity. But this is mainly a Mary Ann McCall disc, ideal for those who enjoy her style of singing. ~ arwulf arwulf, All Music Guide
Charlie Barnet
Active Decades: '30s, '40s, '50s, '60s, '70s, '80s and '90s
Born: Oct 26, 1913 in New York, NY
Died: Sep 04, 1991 in San Diego, CA
Genre: Jazz
Charlie Barnet was unusual in several ways. One of the few jazzmen to be born a millionaire, Barnet was a bit of a playboy throughout his life, ending up with a countless number of ex-wives and anecdotes. He was one of the few white big band leaders of the swing era to openly embrace the music of Duke Ellington (he also greatly admired Count Basie). Barnet was a pioneer in leading integrated bands (as early as 1935). And, although chiefly a tenor saxophonist (where he developed an original sound out of the style of Coleman Hawkins), Barnet was an effective emulator of Johnny Hodges on alto in addition to being virtually the only soprano player (other than Sidney Bechet) in the 1930s and '40s.
And yet Charlie Barnet was only significant in jazz for about a decade (1939-1949). Although his family wanted him to be a lawyer, he was a professional musician by the time he was 16 and ironically in his career made more money than he would have in business. Barnet arrived in New York in 1932 and started leading bands on records the following year, but his career was quite erratic until 1939. Many of Barnet's early records are worthy but some are quite commercial as he attempted to find a niche. Best is a sideman appearance on a 1934 Red Norvo date that also includes Artie Shaw and Teddy Wilson.
In 1939, with the hit recording of "Cherokee" and a very successful run at the Famous Door in New York, Charlie Barnet soon became a household name. In addition to the fine trumpeter Bobby Burnet (who soloed on many of Barnet's Bluebird records), such sidemen as guitarist Bus Etri; drummer Cliff Leeman; singers Lena Horne, Francis Wayne, and Kay Starr; pianist Dodo Marmarosa; clarinetist Buddy DeFranco; guitarist Barney Kessel; and even trumpeter Roy Eldridge spent time with Barnet's bands. Although at the height of his popularity during 1939-1942 (when his orchestra could often play a close imitation of Ellington's), Barnet's recordings for Decca during 1942-1946 were also of great interest with "Skyliner" being a best-seller.
By 1947 Barnet was starting to look toward bop. Clark Terry was his star trumpeter that year, and in 1949 his screaming trumpet section included Maynard Ferguson, Doc Severinsen, Rolf Ericson, and Ray Wetzel. Barnet, however, soon lost interest and near the end of 1949 he broke up his band. Semi-retired throughout the remainder of his life, Charlie Barnet occasionally led swing-oriented big bands during short tours and appearances, making his last recording in 1966.
---Scott Yanow, All Music Guide |
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